This essay attempts to read a number of interventions in Italian new media over the last decade as both a response to and an implicit critique of posthumanism. After a brief discussion of the principal terms in question—new media, interaction, and posthumanism—and a survey of the most important contributors to the discourse of posthumanism in Italy, the essay maps the principal features of Italian media as embodied by the works of three contemporary new media artists. These characteristics include the privileging of a prosthetic model for understanding interaction and more generally the staging of interaction as moments of poiesis. They also include more recently the cancellation of the boundaries between ‘scientific’ and cultural images. The essay insists that by foregrounding the primacy of Italian cultural patterns for determining how meaning is generated in new media, Italian new media artists implicitly critique a reifying tendency among posthuman observers in Italy. The essay concludes with a broad assessment of the importance of poiesis for an Italian technological imaginary.

Alberto Moravia was an ambiguous figure for the Fascists. His first novel, Gli Indifferenti, was an international success, and was praised by Bottai. His second novel, Le ambizioni sbagliate, ran into difficulties with Fascist censorship. His maternal uncle was a member of Mussolini's government. His paternal first cousins were Carlo and Nello Rosselli. This essay explores Moravia's relations with the regime in the light of archival evidence, contemporary ‘revisions’ of his reputation and recent controversy over his letters to Ciano and Mussolini.

Sidney Tarrow has identified a ‘cycle of contention’ taking place in Italy between 1966 and 1972; Tarrow characterises the left-wing terrorism of the late 1970s as an after-effect of this cycle. However, there was a second cycle of contention between 1972 and 1979, incorporating the left-wing ‘armed struggle’ milieu alongside a group of related mass movements (notably the ‘area of Autonomia’, the ‘movement of 1977’ and the ‘proletarian youth movement’). The second cycle, unlike the first, was met with repression, and with the exclusion of its ideological and tactical innovations from the political mainstream. The difference between the two cycles relates to the role played by the Italian Communist Party, which functioned as a ‘gatekeeper’ in each case; the party's engagement with the first cycle can be characterised as inclusive, while its engagement with the second cycle was unremittingly exclusive.

The earthquake that struck both coasts of the Straits of Messina on 28 December 1908 was probably the worst natural disaster in the history of the Italian peninsula. It was followed by an extraordinary movement of public grief and solidarity. These extremely widespread manifestations of patriotism in a country that is frequently thought to ‘lack’ national identity give cause to reflect on the way the notion of national identity is used in the Italian context and beyond. The article looks specifically at some of the contrasting ways in which timing and memory simultaneously became patriotic and controversial issues in the Italian press in the aftermath of the catastrophe. It does so through a sustained dialogue with the most influential thinker on nationalism, time and memory: Benedict Anderson. It emerges from the analysis that different constructions of timing and memory are an indicator of the social and political functions of patriotism, which offers ways to manage crisis situations like the earthquake, but at the same time covertly politicizes them.

The article examines the first official, national Holocaust memorial day in Italy, the so-called Giorno della memoria (Day of memory), marked on the 56th anniversary of the liberation of Auschwitz on 27 January 2001. It looks at the ways in which the day acted as a filter for issues of national collective memory and identity, in particular state and public negotiation of the legacy of Fascism, as well as addressing broader issues of Holocaust remembrance. The article looks first at the origins of the Giorno della memoria in political and in legislative terms. Then it sketches in the events of the day itself, at national and local levels, in political, educational and cultural terms. This is followed by an analysis of media coverage and contemporary commentary, showing how various lines of interpretation addressed general issues related to the Holocaust and specifically Italian historical, ideological and contemporary questions.

This article aims to provide a systematic, comparative analysis of two of the main women's mass publications in order to trace continuities and changes in the development of women's role in the public sphere in Italy. The analysis begins with an elaboration of the social and political context, which is crucial for the understanding of media texts in general. It shows how the existence of only limited political spaces in post-war Italian society due to the polarisation of Catholicism and communism delayed both an open political discourse on women's conditions and the gradual development of an autonomous and lay feminist movement. Noi Donne of Union Donne Italiene (UDI) was closely aligned with and financed by the Italian Communist Party (PCI) and lacked any substantial autonomy until the early 1970s, while Cronache of the Catholic women's organisation Centro Italiano Femminile (CIF) was a faithful instrument for the propagation of those Catholic concepts of femininity that were redefined and reinforced by the Vatican in the Catholic publication Civiltà Cattolica.

Between 1870 and 1970 the migration of 26 million people from Italy produced an uneven geography of Little Italies worldwide. Migrants initially clustered residentially in many lands, and their festivals, businesses, monuments and practices of everyday life also attracted negative commentary everywhere. But neighbourhoods labelled as Little Italies came to exist almost exclusively in North America and Australia. Comparison of Italy's migrants in the three most important former ‘settler colonies’ of the British Empire (the USA, Canada, Australia) to other world regions suggests why this was the case. Little Italies were, to a considerable extent, the product of what Robert F. Harney termed the Italo-phobia of the English-speaking world. English-speakers’ understandings of race and their history of anti-Catholicism helped to create an ideological foundation for fixing foreignness upon urban spaces occupied by immigrants who seemed racially different from the earlier Anglo-Celtic and northern European settlers.

This article takes up the question posed by Claudio Pavone—‘Have the Italians truly known how to come to terms with their past?’—and argues that Italians have indeed grappled with their Fascist past, albeit in varied, contradictory, ambiguous and incomplete ways. This article demonstrates the myriad ways in which Italians—historians, politicians, intellectuals, and segments of the general public—have debated the meaning of Fascism since the fall of Mussolini and the end of the Second World War. What follows below argues that selective remembering and wilful forgetting of the Mussolini regime are nevertheless evidence of an ongoing process of confronting the legacy of Italy's recent past.

This paper examines the politics of urban space through a consideration of three ways Italians in Toronto, Canada, create, make claims to and express their belonging in particular neighbourhoods in the city. The article considers forms of claiming and colonizing space that are not overtly violent or confrontational with respect to other groups living within the plural city but, in effect, are assertions of power over particular places with which others must contend. The three forms encompass a range of scales, temporal duration and purposeful collective expression by Italians in Toronto, and they include the quotidian shaping of neighbourhoods, the calendrical colonizing of public spaces during religious and secular celebrations and the monument building that attests to the permanence of Italians in the city. Ultimately, these forms of place-making must contend with the larger forces of commodification and popular imagery that influence the spatial representations of Italians in Toronto.

Lorenzo Valerio (1810–1865), though a key figure in Piedmontese and Italian politics, a newspaper editor of note and a leading light of both the Associazione Agraria and the Associazione Italo-Slava, has not been accorded in recent years the attention he merits. With the publication, however, of the first four volumes of his correspondence, it is now possible to map more precisely Valerio's activities and influence, in Risorgimento Italy and far beyond it. These letters provide their principal editor, Adriano Viarengo, with the opportunity to review a number of crucial historiographical questions in Risorgimento scholarship, among them, the nature of moderate hegemony, the political vision of the Sinistra subalpina, and the complex relations between Italian patriots and Slav Romantic nationalists active within the Austrian Empire. This article is designed both to portray Valerio and his world, and to reflect upon the contribution Viarengo has made, whether in his introductions to the correspondence or in his ancillary essays, to the study of the Risorgimento.

This article reviews the considerable progress that has been made in modern Italian women's and gender history over the last decade. It puts forward the argument that such history, whose roots lie primarily in the feminist movement of the 1970s, was until recently consigned to the margins of the historical establishment but is now beginning to make a much greater impact. The article looks at the richness of the current wave of new publications and the wide range of topics they cover but argues that in a number of areas the historiography is still somewhat uneven. It also suggests that there is a pressing need for works of synthesis to draw together the research that has been done to date.

Recent cultural and political debate in contemporary Italy, which has often been focused on Fascism and the Resistance, has seen an attempt to reconsider the importance of the constitutive moment of the Republic, namely the Liberazione from Nazism–Fascism, and to equate the memories of Fascism and anti-Fascism. The direct consequence of these confused revisionist approaches is either to rehabilitate many aspects of the Duce's regime, or on the contrary to assign this shady page of history to oblivion. The effect of this would be to marginalize anti-Fascism, and even to depict Fascism as relatively ‘harmless’ or ‘apolitical’. The danger is that this trend may construct an artificial and distorted history and thus a ‘manipulated’ public memory for Italian society. The purpose of this article is not to defend anti-Fascism but to restore the reality of ‘Fascism in action’, and to challenge distorted revisionist perceptions of the past.

Rather than focusing on how Italians share the neighbourhood with other groups, this paper examines some of the intra-group processes (i.e. relations between Italians themselves) that produced various monuments to Italian migration in Australia, Brazil and Italy. Through their distinct styles and formulations, the monuments reflect diverse and often competing elaborations of the migrant experience by different generations at local, national and transnational levels. The recent increase in the construction of such monuments in Australia is linked to the gradual disappearance of ‘visibly’ Italian neighbourhoods. These commemorations effectively transform Italian migrants into Australian pioneers and, thus, resolve moral and cultural ambiguities about belonging and identity by de-emphasizing difference (ethnic diversity) and concealing intergenerational tensions about appropriate ways of expressing Italianness. Similarly, the appearance of monuments in Italy is linked to an emergent ‘diasporic’ consciousness fuelled by Italian emigrants’ growing ability to travel to Italy, but also to the attempt to obscure potentially destabilizing dual identities by emphasizing (one, Italian) ‘homeland’.

This paper analyses the role of the Centro Scalabrini in London in defining a sense of belonging and identification for Italians in Britain. The essay broadens the conventional focus on how community organizations contribute to constructing an ‘imagined community’ for minority or migrant populations by suggesting that organizations are used as cultural objects and collective props for enacting and experiencing collective affective belonging abroad. The paper examines the processes through which community spaces themselves are constructed as scenes of ethnicity, for example, in the visual and narrative accounts of events found in the community press. However, rather than arguing that ethnic organizations simply reproduce an identity and culture, it is argued that the community centre offers intimations of ethnicity, as well as ‘intimate ethnicity’, for those who use it and move through it. As a locale in which Italians and other migrants can find themselves again (ritrovarsi), what the centre offers is not the continuity or reproduction of the old world; it is the production of a portable Italianness through traces that are filled with sensuality, with the bodily experience of contact.

This illustrated paper is the latest in a long series based on visual sociological research which I have conducted about how the meanings of neighbourhood spaces are changed by the agency of even the least of their inhabitants. Specifically, it attempts to demonstrate how the Italian-American character, or version of Italianness (Italianità), of four of New York City's most well-known Little Italies (Mulberry Street and East Harlem in Manhattan, Bensonhurst, Brooklyn, Belmont, Bronx) has been affected by the invasions of new and different ethnic groups. The spatial and semiotic logic of diasporic/transnational processes that have taken place over the course of a century is presented here in the form of scholarly and journalistic reportage, as well as photographic images. All these sources document and illustrate contrasting and changing demography, but here special attention is paid to commercial vernacular landscapes which play a major role in defining the ethnic (in this case Italian) quality of city neighbourhoods. It is also suggested that this Visual Sociological approach might have value if applied in parallel studies of how immigrants are changing the meanings of urban spaces in contemporary Italy.